I remember

ByMoyo Okediji

I remember when I was a curator at the Denver Art Museum from 1999-2008.

One of the highlights of my days in Denver was the opening of the African art gallery designed by Daniel Libeskind, (aka Best Architect in the World).

All the walls in the gallery, and the entire museum, slant in or out. There isn’t a ninety-degree wall in the entire museum.

The newspaper photographer asked me to lean back on the gallery wall to demonstrate the angle of slanting to their readers.

And, well, I obliged.

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a picture showing moyo okediji poised for the camera

WHO OWNS YOUR NAME?

ByMoyo Okediji

The most central building on our school campus was also the building that gave me claustrophobia. It was the school chapel.

Right in front of the building was a stone monument. Within the monument was a plaque, with the inscription, “STUDY TO SHEW THYSELF APPROVED UNTO GOD. 2 Timothy, 2:15”

That, certainly, was not good English, I concluded. Even at age eleven, I felt they needed a copyeditor.

My edited book on the work of Dotun Popoola is now out.

My edited book on the work of Dotun Popoola is now out.

ByMoyo Okediji

My edited book on the work of Dotun Popoola is now out.

It looks so magnificent, like a grande Egungun performance.

The publisher says it goes for 50,000 naira per copy.

This hyper-colorful hardcover book that is larger than a royal Agbada arrived at my doorsteps for the New Year.

It is the most beautiful book I have ever seen.

Congrats to the wonderful art historians, Kunle Filani, Tolulope Sobowale, Olusegun Fajuyigbe, and Kehinde Adepegba, who contributed powerful essays to the book.

a post showing Moyo OKediji art piece

SILICON PAINTINGS

ByMoyo Okediji

Eight of my paintings will be shown at an art exhibition opening tomorrow Saturday, November 9, in Nairobi, Kenya.

These paintings I am showing in the exhibition are open—meaning that the paintings have no figures that can be identified as a person, place, object, tree, water or anything else that one could recognize and name. The paintings do not attempt to tell any story, nor do they illustrate any scene. The paintings are open to absorb whatever story the viewers may bring them, and they also assist in opening up the viewers’ minds to excavate memories and ideas that are in the subconscious of the viewers.

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